592 DJing and dancing outside the box
Date: Wed, 5 Jun 2002 19:28:24 -0800
From: Dan Boccia <redfox@ALASKA.NET>
Subject: DJing and dancing outside the box
Lots of discussion about music and DJing again, with a hint of dance styles.
My whole perspective about music, dancing, styles, etc. has changed a lot
lately. There are some really great tango parties springing up on the west
coast lately - I'm still recovering from one of them last weekend. The
milongas often go for over 8 hours and there are a LOT of people still
dancing at the end, not just 2 or 3 couples. Needless to say, the music is
consistently above average and often absolutely fabulous, or the dancers
wouldn't still be dancing after 8 hours. The DJs are using anything from
raw original CDs to MP3/laptop setups. The music is definitely rooted in
the tradition of the classic-era orchestras but at the same time forging new
frontiers with music from other genres, etc. that are added tastefully to
the mix and mood of the atmosphere. The dancing reflects the various
personalities of the participants with very few floorcraft issues. We don’t
talk about styles of dance or what tools the DJ is using, but we talk a lot
about good dancing, musicality, and good music. I don’t care if the DJ is
using a computer, a CD, vinyl or something else, as long as it is the right
song at the right moment, that is all that matters. So let’s not knock
laptop/MP3 programs or any other sort of DJ tools! Any problem with the
music is a problem with the DJ's judgment and/or knowledge, not his/her
choice of tools.
I get tired of worrying about what tools the DJ uses, or what style of
dancing goes with certain music. I also tire of the supposition that
Piazzolla or non-tango sets necessarily result in poor dancing and poor
floorcraft. That’s not what I’m experiencing. The musical interpretation
that I witness at these parties is like watching and experiencing poetry in
motion. The beauty is that it’s all happening on the same dance floor, and
everyone is having a blast, whether they dance close, open, whatever. We
marvel at each others’ individual dance personality and special talent. We
applaud the DJs that come up with fresh ways to present the classic music by
the classic orchestras that we all love so much, as long as thier focus is
intently on the dancers rather than "just being creative". When there is
this much dancing, you end up hearing some of the same music at least twice,
but the DJs who are successful find ways to mix up the sets and otherwise
find ways to keep the music fresh. These dancers and DJs definitely know
good dance music, and the best dance music always rises to the top - Troilo,
Biagi, Di Sarli, etc. are huge favorites simply because it's still the best
dance music available, period. These parties are constantly raising the bar
for DJs and dancers alike. In this environment, there is no chance to coast
or sit on old ideas - the atmosphere keeps us all sharp. I always leave
thinking I have a lot of work to do with the music to be better next time
around when I DJ again, or I'll be left in the dust.
I can’t help but think that a little history is being written now, with the
tremendous energy flow up and down the US west coast we've been
experiencing. I'm including the two big parties in Denver in this general
description because although these are theme parties specifically focusing
on milonguero style, the overwhelming abundance of dancing puts these events
in the same category for me. I know there are other events around the
country that are similar (Washington, D.C. in March comes to mind) but I
haven't been to them (yet). With rooms full of supercharged dancers sharing
the floor and getting high on tango in general, the truly excellent social
dancers emerge, who serve as role models for everyone else. The thing I
love is that the dancers that are most in demand are the ones who are
courteous to their partners and the other people on the floor. These are
the dancers who understand floorcraft, musicality, connection, and quality.
The few people (if any?) who do wild theatrics find themselves sitting down
a lot or changing their attitude. We don’t need to have long discussions on
the internet about any of this because it all works itself out on the dance
floor. Quality always wins in the end, as far as the music and the dancing
both are concerned. The DJs who don't play good music get weeded out, and
the dancers who crash into other people or otherwise don't contribute
positive energy to the event get a lot of time sitting down or they change
their attitude.
Dan
Date: Thu, 6 Jun 2002 14:40:17 -0500
From: Keith Elshaw <keith@TOTANGO.NET>
Subject: DJing and dancing outside the box
When a dj goes into another market, they experience the shakes.
That's the dj being outside the box.
We tend to hold fast to our opinions (totally securely?) but note reaction
all the same. We like to please.
I think most have thought, "why am I putting myself through this"? There is
a lot of stress involved. It's more fun to just dance (if the music is
good).
The posts about newer/different music and Gotan have prompted me to offer a
couple of comments. It takes a few words because I like to try to have some
context around the point ... hard as it can be to convincingly make a point
in a few words.
I saw someone post earlier that Gotan Project is not for tango dancing. This
person I am proud to call a friend. He lives in my city - where Gotan
Project is a hot item at the best Milonga and played by all the dj's there.
He doesn't know, perhaps, because he typically doesn't stay late.
I play Gotan late, because I know the people who don't get it will leave by
12:30 or 1. They go to bed early. I don't play Gotan at 10 o'clock. The real
fun in expression and experimentation (getting outside the box) happens
later in the night.
I am a loud cheer-leader for the efforts of the musicians in the Gotan
Project. I can't wait for more. I want them to create and explore. What they
have done so far is brilliant. They put their fingers on the fact that,
uniquely, Reggae and tango/milonga have the accent on 1-3 as opposed to 2-4.
And they are drawing younger people into the music who don't know a thing
about tango. Bravo. I now hear their CD being played in chic clothing
boutiques and restaurants in Montréal. That's exciting.
If I can find a woman with creative expression and a good ear to dance with
to their music, I am going somewhere I want to be when we dance to Gotan
Project for a song or two (in the midst of the old tangos).
This is being said by a man who adores The Big 8, Biagi, Lomuto, Laurenz,
Rodriguez, Vardaro, Gobbi and so many others.
I even held my breath when I played Adriana Varela in Miami - but play her I
did. She is great (I interspersed two of her vocals with 2 instrumentals by
Cadícamo). Yet I know some people will say, "what is that?" They need to get
a life.
My ex-partner danced for years in the Copes company with Piazzolla playing
behind live her - but she didn't want Piazzolla's music played in a milonga
because "You can't dance to it." Excuse me! Beg to differ. That's an
attitude that dates back into the long-ago last century. Play him late, but
play him (thanks for your taste in Miami, Victor). The more creative dancers
appreciate him.
There is an older Argentino gentleman at the Miami Congresso who I believe
hates me as a dj. In 14 hours of being a dj this year, he made a big deal of
showing by cartoon dancing his umbrage when I played a 2 minute version of
Jealousy. Apparently he doesn't know it was by Sexteto Mayor from Tango
Argentino. He just thought it was shitty European tango. (This was 4 in the
morning). It was a lead-in to Pugliese's Emancipación and Zum. I can't help
it if he has no appreciation for variety.
But, I noticed that when I played Gotan Project around 2 AM (I was the only
one that I heard) he happened to have a lovely Montréal woman in his arms
who is crazy for it ... and guess who was having a good time? The old guy
who wants the girls to know he is still young? Mais oui. And he must surely
hear Gotan in New York.
Take a look at the calendar. It's heading for 2003. We all love the music of
1940 - none more than me - but today's musical ideas are not invalid because
they are new.
Dance tango to whatever you feel inclined to.
But if you find yourself being exclusive - thinking that certain music is
not suitable for dancing tango - you better take a valium. You are going to
be an unhappy person as decent dancers around you dance more and more to a
different tune for variety.
You also might have hated the new in 1935 when D'Arienzo went back to 2/4.
You would have been miserable - because younger-thinking people went crazy
for it.
I think most dj's wait until late in the evening to play things that some
might object to.
The fun (less serious but - more serious?) people stay up late.
A good dj can be judged on what they play in prime time ... AND on what they
play later on.
You dj's who hate the Gotan Project approach should perhaps go home at
midnight and leave the floor to people who see you as inclined to be
pompous. Don't try to get in the way of what's happening. (But please don't
take offense - I like the rest of what you do).
Or if you want to stay late to prove you know what's what, don't refuse to
give a few minutes over to something "now." (It's tiresome at this point to
have to include Piazzolla in this category, but I shall). After having done
so, nobody will mind when the old standards are returned to.
There is room - even a need - in the tango world (as in the larger world)
for diversity. Tango movement allows for so much expression, it cries out
for - and embraces - new approaches.
Keith
https://ToTANGO.net
Date: Fri, 7 Jun 2002 09:15:05 -0700
From: Dance Update <danceupdate@HOTMAIL.COM>
Subject: Dancing outside the box
Keith's post prompted me to write and request a list of some of the "outside
the box" selections you DJs out there might recommend, at least for
experimentation. Any links to similar lists?
Dave
Date: Fri, 7 Jun 2002 13:17:29 -0500
From: Stephen Brown <Stephen.P.Brown@DAL.FRB.ORG>
Subject: Re: Dancing outside the box
Dave wrote requesting:
>a list of some of the "outside the box" selections you
>DJs out there might recommend, at least for
>experimentation. Any links to similar lists?
Here is a list of tangos that I play on *occasion* for social dancing that
are outside a box that contains only the classics.
Gotan Project -- La Revancha del Tango
Queremos Paz
Chunga's Revenge
Vuelvo al Sur.
Litto Nebia Quinteto -- Tangos Argentinos de Enrique Cadicamo (Iris 980)
Maladandra
Tango Canyengue
Cabaret
Nostalgias
Sexteto Sur -- Libertango
Tanguera
Carlos Garcia and Tango All Stars -- Tango II (JVC)
Adios Nonino
Raul Garello -- Compilation, Buenos Aires by Night (EMI)
Verano Porteno
New York Tango Trio -- Cabarute (Lyrichord 7428)
El Entrerriano
Yuyito
9 de Julio
New York Buenos Aires Connection -- The New Tango (VAI Audio)
La Cumparsita
Tango Bar (Chesky) -- arranged by Raul Juarena)
Nostalgico
Quinteto Francisco Canaro -- self titled (Melopea Discos)
La Cumparsita
Trio Pantango -- from Tango Argentino (ARC EUCD 1257)
Silbando
Hugo Diaz (harmonica) -- The Tango Lesson (Sony movie soundtrack)
Milonga Triste
Daniel Barenboim -- Tangos Among Friends
Mi Buenos Aires Querido
Gidon Kremer -- Hommage a Piazzolla
Oblivion
El Arranque -- Tango (Vaiven)
El Arranque
Zorro Gris
El Abrojito
You can find other interesting recordings on the same CDs.
You can read more about tango music, including post-golden-age recordings
by looking at the six guides to tango music I have assembled on the Tango
Argentino de Tejas website <https://www.tejastango.com/tango_music.html>.
None of the guides specifically addresses the use of music outside the
box.
With best regards,
Steve
Stephen Brown
Tango Argentino de Tejas
https://www.tejastango.com/
Date: Fri, 7 Jun 2002 14:47:54 -0400
From: Manuel Patino <white95r@HOTMAIL.COM>
Subject: Re: Dancing outside the box
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